Being MISERly about the programme brings many problems

This Saturday I went to see the matinee performance of Molière's Miser performed at the Royal Exchange in Manchester. The tale of a miserly father trying to make money from marrying off his two children with somewhat predictable twists, misunderstandings and revelations. I'm very fond of the Royal Exchange. The theatre's futuristic pod squats brilliantly beneath the Victorian building's domes and columns, like a Dr Who Villain in it's non-contemporary lair. The pod itself is a glass multi-levelled piece of beauty that encloses a stage surrounded 360 degrees by seats that reach up to the ceiling. It is always fascinating to see how the players adapt and utilise the space to accommodate an audience that surrounds them. Personally I love seeing plays there, it's like looking down into a goldfish bowl at some very dramatic postulating fish.

Until I walked in to the matinee I knew nothing of Molière or his play 'The Miser'. What I did know within 3 minutes was that the production design was bold and brilliant. The cast all wearing a strange punk-17th century cross, with the miser's household covered in splashed white paint and dust. The stage itself was also white, filled with dripping pipes, occasional bare metal furniture and plastic sheeting that managed to be both modern and period at the same time. A brilliant touch was the gold barely hidden beneath the floorboards and visible only to those audience members willing to tilt their head and squint.

The performance combined some excellent bouts of choreographed chasing and comedic action, that suited the quick fire dialogue. The mime background of the movement director Julian Chagrin being very evident and an excellent addition to the play. Derek Griffiths[1] naturally excelled as Harpagan the Miser and was well supported by the younger cast. Other performances I enjoyed were Helen Atkinson Wood providing an excellent robust Frosine and Simon Gregor as a physically hilarious La Fleche. I laughed continuously and I even enjoyed when Harpagon interacted with the audience; a situation that normally makes me squirm. I found some fault with the actresses, who upon being given hooped dresses to wear all seemed to believe that their character's mannerisms should include unnecessarily grasping their skirts and swinging them about, but I was mostly entranced by their quick banter and comedic timing. Unfortunately the quality of the acting seemed undermined by the performances of Jaques and Signor Anselme. Jacques failed to sparkle or even keep up with his part of any interaction, providing a plodding delivery that seemed to be out of pace with everyone else, perhaps indicating an unfamiliarity with the role or the line's delivery. Signor Anselme was really quite awful, providing some of the most stilted line delivery I have ever seen and quite damaging my enjoyment of the last scenes.

This led me to be suspicious that the two actors might be understudies. However, I had not purchased a programme leaving me with no idea as to what the actors should look like. This led to some frantic internet searching and desperate face recognition but I struggled to draw conclusions. I just about confirmed that Signor Anselme was not played by the well known cast actor (Tim Barlow - him with the long coat in Hot Fuzz), but Jaques's portrayl remains something of a mystery. I therefore feel a little uncomfortable criticizing performances that might have been last minute additions. So I will still recommend the play as a very enjoyable few hour's entertainment. Sumptuous to look at, inventive, funny and somehow making 17th century dash-about, twisty comedy accessible and new.

Plus a note to myself: Buy the programme.

[1]He was the voice of SuperTed! Not that I could tell